Interview: Jess Gillam
Photos by Robin Clewley
22-year-old saxophonist Jess Gillam MBE has racked up a dazzling array of achievements: she’s the first ever saxophonist to be signed to Decca Classics and the youngest ever presenter for BBC Radio 3, hosting her own weekly show and podcast This Classical Life where she chats to 20-something musical guests to swap notes on tracks they love. Her debut album RISE reached No.1 in the UK Classical chart, she’s picked up a Classic BRIT Award and has also performed at the Last Night of the Proms. Gillam is always looking to the next chapter of classical music, and enjoys presenting an eclectic mix of genres side by side. Her second album, TIME includes tracks by Anna Meredith, Max Richter and Philip Glass alongside music by Brain Eno, Thom Yorke and Björk.
We caught up over a morning cup of tea about maintaining individuality and authenticity as a performer, carving out your own path, and programming classical club nights.
Let’s kick off with a quick-fire round…
How do you take your tea? Quite strong with milk
What is your tipple of choice? Gin and tonic
Which Harry Potter house would you be in? I’d like to think I’d be in Gryffindor.
What are you watching on TV at the moment? I saw this hilarious series called Life on Mars. It's a 70s police series set in Manchester. Really laugh out loud.
If you were to change career, what would you do? A primary school teacher or a writer
Who are your favourite three classical composers at the minute? Caroline Shaw, Anders Hillborg, Rachmaninov
I heard you say on This Classical Life that you’ve found it hard to be particularly creative over lockdown. As someone so used to being around people and performing, how have you found this period?
Obviously before lockdown I knew that audiences were important, but during lockdown I realised how much for me music is about the physical exchange of ideas and seeing how music affects somebody. I love sharing music with people learning from them and being inspired by them. Technology is amazing, but it's not the same as doing that in the room.
I did manage to do some virtual projects, including the Virtual Scratch Orchestra, which was one of the most rewarding and heartwarming projects I've ever done. And I managed to find a way to be creative and to be able to practise and play. But combined with the stress and frustration at not having any clarity and what's happening in our industry, and often feeling like the arts aren't valued as an industry within our society, it’s really difficult.
So going back to when you were a child, what were you like at school?
I loved school. I loved learning and having a timetable. I had some great teachers and I loved absorbing information and being surrounded by people my own age. I was a little bit of a teacher's pet. Towards the end of school, though, I became so sure that I wanted to be a musician that all of my energies went into that. Everything else fell by the wayside and I ended up leaving sixth form early to just practice and be focused on music.
And then you went on to music college?
Yes, I went to music college and I left my undergraduate course early because there were just so many things to fit in and I moved down to London. And then in lockdown I finished my Master's degree from Guildhall.
I’ve heard you say that you’re not good with institutions, and you’re often described as a ‘free spirit’. I’m interested to hear more about that.
I think some institutions can stamp out authenticity and individuality. One of the most incredible things about music is that it can be a true voice, and a really authentic way of expressing and communicating yourself and with other people. In a world where you can present yourself as any kind of persona on social media and show somebody the highlights of your life, people are searching for truth and authenticity. And sometimes institutions don't encourage that enough.
“some institutions can stamp out authenticity and individuality”
In an industry that can encourage musicians to follow a set path, I’m impressed that you stick to being the best version of yourself rather than trying to emulate anyone else.
Yeah, I try, but it can be really difficult. I think there can be a tendency sometimes to feel the pressure of the expectation. I'm quite lucky with my instrument in that it doesn't fit into a neat classical mould and there isn't a whole legacy of people who've carved the path for the classical saxophone player, so I don’t have so many direct comparisons. When you do it with the right intentions, whilst being respectful and passionate, to try and be yourself can be really powerful.
Given that there aren’t lots of people who’ve carved the path for you, it’s great that you had the confidence to carve it out yourself.
I don't think I thought about it that much when I was doing it, which is why I was able to do it. I didn't start with classical music (I started in a carnival centre playing samba and pop) and everything was just about joy and about communication. I came to classical much later. I didn’t always realise that there was a set path that you follow. Challenging the norm is never a bad thing. Questions like “is this really how it should be done?” or “is this really how we can engage the most people?” have to be constantly asked to define our relevance and mission as people and musicians.
Do you have anything in particular that you would add to or change about the way concerts are presented?
When light installations or video installations are really thoughtful and genuinely add something to the music or help the audience understand the music in a more visceral way, that can be really effective. I want to develop a show where the whole room becomes the experience, accepting the fact that some classical music can be entertainment and that's OK. I think some people really just want to go somewhere and have a great time and be enriched, and be forced to ask questions and be taken to another place for a while. When it's done in the right way that can be amazing.
I’ve heard you say that you enjoy dancing to classical music. If you were programming a classical club night which pieces would you pick?
Definitely Stravinsky’s The Rite of Spring. Michael Torke’s music has a lot of real rhythmic drive. A lot of minimalism - because it’s got really hypnotic small changes that can quite often become like trance. And I’d like to see some experimental dance to really beautiful, serene music like the slow movements by Rachmaninov.
A lot of performers I've met almost seem to have a switch they flick when they go on stage. How similar is your on-stage persona to your off-stage personality?
I think I am quite similar and that’s quite important to me as the humane side of music is an integral part of music. I try to learn from the music and then bring that into life so when I'm conversing with people I’m trying to bring the sense of empathy that I've learned through playing a particular piece. I have this idealistic belief that if every child was taught music and taught the art of communication, we would have a society of more empathetic and considered people, because in learning a piece you’re having a conversation with a time that you were never in, with a person that you've never met.
Jess Gillam’s second album, TIME is out now on Decca Classics. Follow @JessGillamSax on Instagram or Twitter.
Hannah Fiddy is a creative entrepreneur based in Bristol, developing new audiences for classical music. She is the Co-Founder of Alternative Classical and the creator of Humans of Classical Music and Concert Roulette. Hannah interviews prominent artists from around the world and writes articles about classical music.
Follow Hannah on Twitter @Hannah_Fiddy.